Brooklyn gallery Glowlab was also making swift sales at its booth full of works on paper with price points that ranged from free (Sal Randolph’s Free Money, a so-called “social sculpture” from which visitors were encouraged to take a $1 bill and “pass it on”) to $3,500. Works that sold during the preview include Swoon’s screen-print-on-paper Miss Rockaway Armada (2007), one of an edition of 85, which went for $1,000.

“It has been surprisingly active,” said Glowlab director Christina Ray.

Glowlab is one of the many Brooklyn galleries who migrated to Bridge after the scrappier, sprawling, salon-style Fountain fair, which would have been in its third year in New York, was canceled. “Fountain was closer to my heart and offered more of what I like to do with space,” Ray said. “I like to create environments. This is the most traditional space I’ve ever worked in, but we’ve been doing what we can to keep the booth more in the spirit of the way I typically show work.”

Marisa Sage, director of Brooklyn’s Like the Spice Gallery, said she missed the communal feeling of Fountain, but she also appreciated being part of a larger fair. The gallery reported brisk sales, including two of New York artist Dean Goelz’s humanoid sculptures, listed at $1,400 to $1,800.

Bridge had a distinctly cosmopolitan feel. Organizers said they were using the fair’s New York debut to introduce its new “Focus” series, which highlights art from specific regions. Bridge New York is showcasing Asia, but the concentration is subtle, with only 15 of the 57 participating galleries hailing from Taipei, Shanghai, Tokyo, and across the Pacific Rim. There were also galleries from elsewhere around the globe, including Canada, Spain, and Switzerland.

“I’m really impressed with Bridge in general,” Sage said. “I’m meeting gallerists from all over the world.”